Directing and shaping immersive narrative worlds for stage and screen

Defining a person’s skills or role within an industry is a dangerous prospect. Context inevitably shapes the answer, often inviting misinterpretation, rigid categorization, or blanket assumptions.

Instead, I prefer to share my artistic philosophy and let that speak more fully to the work.

I’m drawn to stories that reflect who we are, the world we inhabit, and the world we might become. Having worked across performance, creative departments, mediums, and genres, I value adaptability and creative fluidity.

What matters most to me is building a truthful world, serving the story, and guiding collaborators toward a fully realized piece that resonates long after the audience leaves the theatre, stops the film, or closes the book.

I believe storytelling is inseparable from the medium through which it’s told. Each form offers its own vocabulary, limitations, and possibilities, and I’m drawn to exploring how those qualities shape the way an audience experiences a story. Rather than imposing a single aesthetic across mediums, I strive to engage deeply with what makes each one distinct — leaning into its strengths, its textures, and its particular relationship with the audience. Whether working on stage or on screen, my goal is to let the form itself become an active collaborator in how the story unfolds.

In theatre, I believe in embracing the full potential of live performance — its theatricality, its imagination, and its ability to shift scale in an instant. Some stories demand scope and sweep, while others require intimacy and fine-grained tonal focus; I aim for each production to fully utilize the unique strengths of the stage. I’m drawn to the alchemy that happens in a shared physical space, whether through a grand act of stage magic or a moment so small it could only resonate with an audience breathing in the same room.

In film, I am equally interested in embracing the medium’s full expressive language — its precision, its intimacy, and its ability to guide an audience’s gaze while reshaping time itself. Film allows stories to move fluidly between vast visual landscapes and the smallest flicker of human emotion, capturing details that might otherwise go unnoticed. I’m drawn to storytelling that uses the camera as both observer and participant, where editing, framing, and sound design become narrative tools as vital as performance. I seek to create immersive emotional worlds that harness cinema’s capacity for sweeping scale as well as quiet, unspoken interiority that can only exist through the lens.

As a director, I build stories from the inside out. My first priority is creating the world of the piece — defining its rules, its rhythms, and its internal logic — so that when those rules are broken, it happens with intention and meaning. From there, I work closely with designers and collaborators to explore how space, sound, text, and movement each carry the narrative, allowing every element to become an active storytelling voice.

I’m especially drawn to the early stages of creation — the moments when collaborators dream together, align instincts, and discover which elements of the production are responsible for telling each part of the story, always in service of creating a cohesive and deeply felt experience for an audience.